Limoen Etherische Olie
SKU: 32546372195

Limoen Etherische Olie

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Limoen Etherische OlieWas ist Limettenl? Lime Essential Oil ist ein lebendiges, frisches und leicht saures Zitrusl, das die tropische Atmosphre eines Mojito oder eines karibischen Cocktails hervorruft. Der lateinische Name lautet Citrus Aurantifolia, und das l wird kaltgepresst aus der Schale der Limettenfrucht. Die Farbe ist hellgelb bis grnlich, und der Duft ist scharf, s und deutlich zitrushaft. Dieses l enthlt von Natur aus einen hohen Anteil Limonen (45 bis 65 %),

Was ist Limettenöl?

Lime Essential Oil ist ein lebendiges, frisches und leicht saures Zitrusöl, das die tropische Atmosphäre eines Mojito oder eines karibischen Cocktails hervorruft. Der lateinische Name lautet Citrus Aurantifolia, und das Öl wird kaltgepresst aus der Schale der Limettenfrucht. Die Farbe ist hellgelb bis grünlich, und der Duft ist scharf, süß und deutlich zitrushaft.

Dieses Öl enthält von Natur aus einen hohen Anteil Limonen (45 bis 65 %), zusätzlich zu Beta-Pinen, Gamma-Terpinen, Citral und Linalool. Diese natürlichen Bestandteile sind verantwortlich für das erkennbare Aroma und die adstringierenden, reinigenden Eigenschaften der Haut.

Limette vermischt sich wunderbar mit anderen Zitrusölen wie Bergamotte, Zitrone und rosa Grapefruit, mit würzigen Ölen wie Ingwer, Zimt und Nelken sowie mit Blumenölen wie Lavendel und Ylang-Ylang. Es ist eine beliebte Spitznote in tropisch inspirierten Parfümmischungen und ein häufiger Inhaltsstoff in selbstgemachten Reinigungsprodukten.

Wie wird Limettenöl hergestellt?

Limettenöl wird durch Kaltpressen extrahiert, auch bekannt als Ausdruck von Kaltpressen . Bei diesem Prozess werden die Kalkschalen mechanisch zusammengedrückt, wodurch die Öldrüsen in der Schale aufbrechen und das ätherische Öl freigesetzt wird. Da keine Wärme beteiligt ist, bleiben die natürlichen Aromamoleküle optimal erhalten. Deshalb riechen kaltgepresste Zitrusöle so lebendig und typisch.

Der Nachteil des Kaltpressens ist, dass auch die schwereren, nichtflüchtigen Moleküle mitkommen. Die Furocoumarine gehören zu dieser Gruppe. Diese Substanzen verleihen dem Öl seine Tiefe, machen es aber auch phototoxisch auf der Haut in Kombination mit UV-Licht. Limette ist zusammen mit Bergamotte eines der fototoxischsten Zitrusöle.

Vorteile von Limettenöl

Hat eine aufbauende und energiegeladene Wirkung
Das scharfe, frische Aroma von Limette bestärkt den Geist sofort und hilft bei Müdigkeit und geistiger Lethargie. Eine ausgezeichnete Wahl für einen Diffusor am Morgen oder bei der Arbeit.

Reguliert die Talgproduktion
Limette hat eine natürliche adstringierende Wirkung und kann in Formulierungen für fettige oder Mischhaut verwendet werden. Es hilft, die Poren zu verfeinern und die Haut ins Gleichgewicht zu bringen.

Reinigung und Entfettung
Das Öl hat eine natürliche Reinigungswirkung und ist daher in DIY-Reinigungsprodukten beliebt. Ein paar Tropfen in einer Flasche Wasser mit Essig entfetten die Oberflächen effektiv und erzeugen einen frischen Duft.

Eine tropische Spitznote in Blends
Limette verleiht Parfüm- und Diffusor-Mischungen einen lebendigen, tropischen Charakter. Es eignet sich besonders gut in Kombination mit Ingwer-, Kokos- und Blumenölen für eine festliche Atmosphäre.

Wie verwendet man Limettenöl?

Beim Auftragen auf der Haut immer ätherisches Öl in einem Trägeröl oder Butter verdünnen. Für Kalk gilt aufgrund der Fototoxizität ein gesetzliches Maximum von 0,7 Prozent für Leave-on-Produkte auf der Haut. Das entspricht 0,7 Gramm ätherisches Öl pro 100 Gramm Trägeröl oder Butter. Geeignete Träger sind zum Beispiel: Jojobaöl, Zoete Amandelolie von Sheabutter. Lies auch die Erklärung am Ende zu Allergenen, wenn du mehrere ätherische Öle kombinierst.

In einem Nachtserum oder Abendpflege
Limette kann eine schöne Ergänzung zu einem abendlichen Serum für fettige oder Mischhaut sein. Tragen Sie es nur auf Haut auf, die in den folgenden Stunden nicht der Sonne ausgesetzt ist.

In einem Diffusor
Geben Sie 4 bis 6 Tropfen in eine Aromadiffusor Und bringen Sie eine lebendige, tropische Atmosphäre in Ihr Zuhause. Kombinieren Sie es mit Ingwer oder süßer Orange für eine aufmunternde Morgenmischung.

In Zeep, Duschgel oder Shampoo
Bei Abspülprodukten bleibt das Öl nicht auf der Haut zurück, was größere Dosierungen ermöglicht. Eine großartige Wahl für ein frisches, energiegeladenes Morgenritual.

In Reinigungsmischungen
Limettenöl hat eine entfettende Wirkung und kann zu selbstgemachten Reinigungsmitteln hinzugefügt werden. Ein paar Tropfen in einer Flasche mit Wasser und Essig erzeugen einen frischen Duft und helfen, Oberflächen zu reinigen.

In einem tropischen DIY-Parfüm
Kombinieren Sie Limette mit Ingwer, Ylang-Ylang und Sandelholz für ein sommerliches, lebendiges Parfüm. Behalten Sie auch hier die 0,7-Prozent-Grenze für Leave-On-Anträge.

Tipps zur Verwendung von Limettenöl

  • Lagern Sie das Öl an einem kühlen, dunklen Ort. Zitrusöle sind anfälliger für Oxidation als andere ätherische Öle, und eine richtige Lagerung verlängert ihre Haltbarkeit erheblich.
  • Schließe die Flasche nach der Anwendung immer fest. Der Kontakt mit Luft kann dazu führen, dass das Öl seinen Duft verliert und schneller wirkt.
  • Testen Sie vor der ersten Anwendung des Öls auf einer kleinen Hautstelle, besonders wenn Sie empfindliche Haut haben.
  • Arbeiten Sie immer mit Gramm und Prozentsätzen, nicht mit Tropfen. Tröpfchen variieren in ihrer Größe und erschweren es, innerhalb sicherer Grenzen zu bleiben.

Aufmerksamkeitspunkte und Nebenwirkungen

Limettenöl ist hochgradig fototoxisch. Das Öl enthält von Natur aus Furocoumarine, eine Gruppe von Molekülen, die unter UV-Licht mit Hautzellen reagieren und Hautschäden verursachen können. Dies kann zu Blasenbildung, Rötung und anhaltender Hyperpigmentierung führen, manchmal monatelang. Limette gehört zusammen mit Bergamotte zu den fototoxischsten Zitrusölen, daher ist besondere Vorsicht geboten.

Laut dem 51. Verfassungszusatz der IFRA (2023) ist die maximal sichere Dosierung von Leave-on-Produkten auf der Haut 0,7 Prozent. Für ein Pflegeprodukt von 100 Gramm bedeutet das maximal 0,7 Gramm Limettenöl. Für ein 30-ml-Serum sind das etwa 0,21 Gramm. Aufgrund dieser Phototox-Einschränkung ist das IFRA-Limit hier auch die praktische Arbeitsdosis, niemals darüber hinaus.

Seien Sie vorsichtig, wenn Sie sie mit anderen ätherischen Ölen kombinieren
Zitrusöle enthalten von Natur aus Allergene wie Limonen, Linalool, Citral und Geraniol. Wenn Sie mehrere ätherische Öle in einem Rezept kombinieren, häufen sich diese Allergene an. Behalten Sie dies im Hinterkopf, um sich innerhalb der gesetzlichen Allergengrenzen zu halten, besonders bei der Herstellung von Mischungen mit mehreren Zitrus- oder Blumenölen.

Bei Produkten, die Sie abspülen, wie Seife, Duschgel oder Shampoo, werden die Maximalen länger angewendet, da das Öl nicht auf der Haut bleibt.

Nicht empfohlen für die Anwendung während der Schwangerschaft ohne Beratung mit einem Experten. Haltet euch außerhalb der Reichweite von Kindern. Im Zweifel oder bei empfindlicher Haut teste immer zuerst auf einer kleinen Stelle und warte 24 Stunden, bevor du es auf größere Flächen anwendest. Verwenden Sie das Öl immer verdünnt, niemals reines auf der Haut.

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SKU: 32546372195

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4.5 ★★★★★
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ghostrider369
Battle Creek, US
★★★★★ 5
If you want to write that best seller correctly, this is the book for you!
Format: Paperback
Plot & Structure is a thorough handbook for writers looking to improve their storytelling. Bell, as many already know is a successful novelist and writing coach. He simplifies complex ideas like plot development and narrative structure into useful advice, practical tactics, and interesting activities that we can all understand. Bell's strategy revolves around the LOCK methodology, which stands for Lead, Objective, Confrontation, and Knockout. Not a new technique at all, this framework is intended to assist authors in crafting captivating story lines that hold readers' attention from start to finish. Bell clearly emphasizes the significance of developing a strong lead character who propels the story forward, a definite aim that guides the plot, a confrontation that adds tension and drama, and a knockout finish that leaves readers happy but wanting more. Clarity and order are two of the book's strongest points. Bell delivers his thoughts in a logical order, beginning with the basics of plot structure and progressing to more sophisticated themes such as subplots, pacing, and thematic depth. Each chapter is illustrated with examples from popular literature and cinema, making theoretical topics more concrete and understandable. This method not only enhances comprehension but also encourages readers to study and appreciate the workmanship behind their favorite stories. But Bell does this in a fun, and still factually correct manner. Bell's writing style is both informative and motivating. He communicates directly to the reader, anticipating their worries and queries and providing encouragement with his advice. His encouraging tone is especially helpful for aspiring authors who may be intimidated by the hurdles of narrative development, I know I was one of those. Bell tells them that, while creating a compelling plot is difficult, it is possible with perseverance, effort, and a willingness to learn from failures. The exercises at the end of each chapter are another standout feature of the book. These are intentionally created to put the concepts covered into practice, encouraging authors to explore various story scenarios, character motives, and narrative structures. By constantly promoting active participation, Bell guarantees that readers not only absorb the material but also apply it. This hands-on approach encourages creativity and experimentation, which are crucial skills for any writer trying to improve their art. He makes the whole process fun to do, which helps one feel involved more than some dreary instructional how-to book that we have all read and forgotten. Furthermore, Bell discusses frequent plotting difficulties and provides solutions to solve them. He addresses difficulties like predictable storylines, uninteresting characters, and drooping middles, offering practical advice on how to increase suspense, deepen character development, and sustain momentum throughout the novel. This problem-solving part of the book is crucial since it provides writers with skills for critically evaluating and improving their work. It dives into the psychological and emotional sides of narrative, recognizing that a successful plot is more than just what occurs, but how it affects the characters and, as a result, the readers. Bell urges writers to explore their characters' emotional journeys, claiming that emotional resonance is critical to producing a memorable and meaningful story. Despite its numerous qualities, the book might have used more diverse examples, such as those from genres outside of Bell's area of expertise, contemporary literature, and indie presses. While the emphasis is mostly on traditional narrative frameworks, some consideration of experimental and non-linear storytelling could have provided a more comprehensive perspective on the art of plotting. Its thorough examination of plot creation, along with practical exercises and insightful suggestions, makes it an invaluable resource for anybody wishing to master the craft of storytelling. Whether you're a new writer struggling with your first plot or an experienced author looking to improve your skills, this book provides the assistance and inspiration you need to create captivating narratives that keep readers engaged from beginning to end. Plus, you will have fun along the way too!
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Reviewed in the United States on February 6, 2024
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Birdfeeder
Port Orchard, US
★★★★★ 5
One of the best books about writing!
Format: Paperback
Each chapter offered valuable information. I can't praise it enough. It's simply one of the best books that I have read about writing. I have learned plenty, and I will apply it to my new novel that I'm working on right now! Buy it! Read it! It works wonders! It's invaluable to my collection. If you're building your collection, make sure this book finds a place in your home. I have outlined so much. I have taken so many notes. I memorized elements of the structure. The author didn't take any break. He didn't stop surprising me toward the end. Great work! OVERVIEW The author talks about the LOCK system for your novel. L --You need to have a gripping Lead with whom readers can identify with. You need sympathy, likability, and inner conflict. You need to build an arc of your character breaking into his layers, so the lead changes by the end of the novel. You need to show it through action and show the moment of change. O-- Objective, a goal your lead wants to achieve. You need to create a strong opposition, and put that opposition close to the lead. It might be a physical location, moral duty, professional obligation, life or death situation, obsession, etc. C--Confrontation or simply said conflict that grows; stakes are raised higher leading to the climax of the story. K--Knockout--final fight against opposition You need three ACT structure: Beginning (Act 1) , Middle(Act 2), Ending (Act 3) Beginnings- You need to reveal the lead; hook the reader; create sympathy through those things that I have mentioned earlier. You need to create disturbance in his life that will move the Lead to Act 2 which is the middle, no return. Middles- Raise the stakes; scenes are more tense; create more conflict and have a death hanging over your Lead (emotional death, physical, or professional, etc.) The customer is nearing the black moment. The Lead enters another door of no return. Endings-Battle--tie those lose endings (some might contain sacrifice) 1. A final choice or 2. A final battle Add a twist if possible. If you follow the above and create a back cover blurb, you can go ahead and write your novel knowing it will not fail. Create an arc of the character that concentrates on the internal part of the character. I like to create also two charts. One is for the Lead showing how the character is changing internally. Another one, characters who play the parts in your novel divided into following categories: Character, Description, Objective, Role, Secret, and Emotion Evoked. You can add as much as you want in your never ending list. Scenes- HIP- Hook, Keep it Intense, Prompt to another scene Stretch tension! You need show instead of tell. ARM- Action, Reaction, and More Action Soap Opera-- don't resolve anything until the end, and you might want to end the scene with a secret revealed or a cliff hanging moment. Complex Plots--Play with symbols or motifs; create subplots and integrate them into the main plot, or use parallel plots used so much in romance novels. Or divide into sections; each section to contain the LOCK system and three act structure. Some other things that I found valuable: Flashbacks -- keep them short; create scenes out of them; use one HAD. If your middle doesn't play well, do something unexpected like throwing a guy with a gun. Unanticipate-- avoid cliches, create unpredictiable scenes, endings If you present something in the story, make sure you use it later in your novel. If you mention the riffle on the wall, make sure it will play out in the future scene. You need to work backwards. You need to plant things, so the future scenes will make sense. The author talked about SHUTDOWN. I have experienced it myself just after the conference. It happens when the writer is overwhelmed and can't produce. It's a phase that passes. I did have it for two weeks. I was just simply exhausted and overwhelmed. I took a break, and the passion came back.
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Reviewed in the United States on November 1, 2011
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C.J.
New York, US
★★★★★ 4
Pretty Good... Not amazing.... But pretty good.
Format: Paperback
Before taking a stab at my first real story I have decided to read two books on the art of writing fiction; "Techniques of the Selling Writer" by Dwight Swain, and the book I am reviewing now, "Plot and Structure" by James Bell. While Swain's book was more of an all inclusive manual on writing interesting fiction, Bell's book is focused strictly on, as the name suggests, plot and structure. What this book is not... This is not a 'how to write a novel' book; if you are going to just read one book on writing a fiction novel then "Techniques of the Selling Writer" may be the more appropriate choice. If you are looking for a book that deals with anything outside of plot and structure, this book will be of no help there either. This book is designed to be supplemental to an already moderately educated reader. If you read Swain's book first, then you will instantly recognize the principles of this book. What this book is... This is a great book on, you guessed it, Plot and Structure. It's actually a fairly concentrated look into the subject. The chapters... Ch 1: What's a plot, anyway? Ch 2: Structure: What holds your plot together. Ch 3: How to explode with plot ideas. Ch 4: Beginning strong. Ch 5: Middles. Ch 6: Endings. Ch 7: Scenes. Ch 8: Complex Plots. Ch 9: The character arc in plot. Ch 10: Plotting Systems. Ch 11: Revising your plot. Ch 12: Plot Patterns. Ch 13: Common plot problems and cures. Ch 14: Tips and Tools for plot and structure. I found the specificity of this book very helpful with each principle being illustrated by a paragraph or so of a known author's work. Bell handpicks excerpts from authors varying from Dean Koontz to Herman Melville, brilliantly pulling text from these masters and showing us how they went about the relevant technique. This easy to read nature and well outlined subject matter means I will be using several of its chapters as a personal reference guide in the future. I'm certain it will keep me from making many of the mistakes beginning writers make and possibly save me weeks in rewrites. I will say this though... "Techniques of the Selling Writer" is a better book and covers plot quite well too; so if you are only going to read one book on writing, that is a damn good place to start. If you want to supplement that reading further, "Plot and Structure" comes highly recommended. [...]
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Reviewed in the United States on May 26, 2010
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fernando pedernera
Cuba, US
★★★★★ 5
Have no fear!, or The writer's Victorinox.
Format: Kindle
You can't praise this book enough. There are a ton of how-to books out there, but this one really made a difference for me. Think of writing as a journey through the woods: You set up, you get in the muddle, and you come out (hopefully) on the other side. When doing this, we try to use as many tools and resources as we can to make it to the other side, but most of the time you fail (or tools fail on you) and you end up starving or being eaten by some wild animal in the muddle of the story. What James Scott Bell wants you to have in clear is that the most useful tool you can have out there is YOU. And all of his tips, advice and excercises are aimed to one thing and one thing only: how to unleash and harness the power of your story (and survive). It provides clear, straight-forward tools and tips, adressing many aspects of the writing process you won't find in many of them. It is a must-read for anyone interested in the study of plots and storytelling. Relevant examples that take in consideration a wide array of writer profiles, and Bell does not abuse with film examples (and most of the movies it references are also books i.e.: the maltesse falcon, the godfather, etc.). It contains useful excercises at the end of each chapter to help you put the tehcniques in practice and bring the best out of your learning experience. It really helped me overcome several issues I had with my novel-writing and opened my mind to a new scope on plot and str.. This is a wonderful book, written in the same gripping style that the author suggests to use, and with great success. I think this is a wonderful book because it does not give infalible advice. To me that is very important. Let me ilustrate how I felt by giving you the following example: (after developing content) -Regular book: so just do This (and fail, miserably). -Bell's book: Many writers had this problem before and by doing This you might also find a solution for it. In case That doesn't work, you could maybe try This, or come back at it again later on with a fresh view and give it another try.
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Reviewed in the United States on August 18, 2017
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Nancy C. Beck
Phoenix, US
★★★★★ 5
Excellent resource
Format: Paperback
Two novel ideas ago, I had to put that one aside because I stuffed it to the point where the story made no sense. I intend to go back to it at some point, but for now, it's collecting dust. Also collecting dust is my more recent idea. I started with an outline (of sorts), wrote and rewrote it a few times...only to get stuck on Chapter 8 or so. I didn't know where to take the story. This one will probably never get resurrected...but you never know. Which leads me to one of the best things in this book: outlining with index cards. There's at least one other book touting this, but I'm sure there are others that do. What sets this one apart, in my mind, is his suggestions on how to set it up. This doesn't comprise a huge part of the book, but it made enough sense to me that I decided to give it a whirl. Almost 50,000 words later, I'm still chugging along, taking into mind his ideas (I'd never heard it put quite this way) about doorways of no return (more on that in a moment). Sure, I've made some changes, throwing out cards, rearranging cards, adding cards. That's the beauty of this system: it's not set in granite. If your muse takes you in a way that's different from what you originally wrote, go for it! Mr. Bell explains the doorways simply, at first, as transitions - from beginning to middle and then middle to ending. The first doorway gets your Main Character from beginning to middle; the idea is to create a scene where the MC is thrust into conflict in a way that keeps him/her there. With the second doorway (middle to ending), something has to happen to set up the final confrontation. It's usually a huge clue, a big piece of information, or a major crisis that sends the MC hurtling towards the conclusion. Mr. Bell explains these in greater detail, and I found his explanations quite understandable. But there's more to this book than that. Mr. Bell gets into how to come up with plot ideas, character arcs, revising, plot problems and cures, scenes, and tips and tools. I wasn't bothered by his reusing some of the same good writing examples, but it may make you cringe or roll your eyes. Other than that minor quibble, I think everything else about this book makes it shine as a writer's resource.
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Reviewed in the United States on December 1, 2006

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